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Editorial Reviews

Product Description

As songwriters, performers, innovators and founders of the influential Dead Reckoning record label, Kieran Kane and Kevin Welch have made a career of letting the song lead the way. In the process, they midwifed a new genre of American roots music, blazing a trail for other artists to explore and develop. Yet their modus operandi remains the same: to craft and compose with no goal other than to let the song realize itself. In 2003 they joined forces with Fats Kaplin, the renowned multi-instrumentalist and "this generation's Ry Cooder", to create an Americana super group that makes music with roots parameters but in the spontaneity and vibe of a jazz recording. Joined this time around by Kieran's son Lucas, Kane Welch Kaplin picks up where Lost John Dean left off featuring an entire album of roots music gems from the pens of the original Godfathers of Americana. The groove is tighter, the tunes sparser; they've gone from being a group of accomplished individuals to a solid soulful unit. Album cover art painted by Kieran Kane.

Amazon.com

The third in a series of albums by guitarists, singers, and songwriters Kieran Kane and Kevin Welch along with multi-instrumentalist Fats Kaplin is somewhat deceptively titled, as Kane's son Lucas is also aboard, making it a quartet. His restrained and meticulously placed drums and percussion shadings help give this warm folk its heartbeat. Kane Sr.'s startling and bizarre folk-art cover painting (his work also adorns the group's previous albums) is the boldest aspect of this low-key project. Kane and Welch's stripped-down songs shimmer with Southern heat, lazy, lovely, and measured. They trade vocals and harmonize on a set of 11 originals and a closing cover of the public-domain tune "What Are They Doin' in Heaven Today?" that trod down dusty back roads at a languid yet deliberate pace. Kaplin's slithery fiddle and Kane's high, lonesome banjo on "Callin' You" capture the song's somewhat cautionary lyrics with help from stark yet taut percussion. Nothing is rushed, forced, or molded into commercially accessible pop. This is pure, unfiltered folk, hotwired from the spirit and soul of the participants and sprinkled with religious imagery. These musicians long ago quit compromising, instead creating music that is austere, sincere, and honest. Kane Welch Kaplin isn't meant for background listening; it's made to be absorbed while reading the lyrics and concentrating on the passion, subtle talent, and earnest approach of an American collective that just keeps getting better. --Hal Horowitz

Most Helpful Customer Reviews

I have followed Kieran Kane since his O'kane days and through his solo records. All deserve your attention, but the music that Kane, Welch, and Kaplin have created in their three recordings is special. In a time when music is more produced these recordings remind us of how "real" music can be. It sounds simple due to their approach to the music, however this is a creative hybrid of many styles and influences that is created by exceptional musicians. The two styles of writing--Kane and Welch-are different but compliment each other. Kaplin somehow finds the perfect sonic additions with his varied instrumentation. Now they have added Kieran's son on stripped down percussion and it drives but does not overpower the songs. I am amazed at how Kane keeps simplyfying his songs and how they actually become more musical and powerful. This is very sophisticated stuff. Pay attention and you will not regret this muscical journey.

Have you ever wondered how the pecking order of a law firm's name comes about? For instance, imagine you have a firm of three attorneys named Kane, Welch and Kaplin. Who ever wrote the rule on why Kane should come first? Isn't the name supposed to be in alphabetical order? Of course not. Is it based upon the way that the name might "flow"? Don't give attorneys that much credit.

However, imagine for a moment if you have three well accomplished musicians who one day decide that rather than go into law they will instead record an album in a collaborative fashion. It would seem to make sense that musicians would know far more about how things sound and/or flow than an attorney would.

Or maybe they just played a good old fashion game of rock paper scissors.

Kane, Welch and Kaplin is the byproduct of three talented musicians based out of Nashville looking to turn their amazing individual performance and talent into a symbiotic, musical brainchild of the three musicians. While we all know the horror stories of two many stars in one band typically leading to the demise of the band, it seems based upon their aptly named album Kane Welch Kaplin that this band is in fact one that just might be good enough to make it.

Thankfully when Kane, Welch and Kaplin named their first track Ain't Gonna Do It they were not talking about carrying on with the rest of the album. With a dark and paced tone maintained throughout the track, it is hard to gauge immediately what the rest of the album will hold. One can hear a very Southern and almost blues infused sound to the track.Read more ›

I've not followed either Kane or Welch during their extensive earlier careers, although I knew of both, especially Kevin Welch's writing. My exposure began with "You Can't Save Everybody" (their first trio recording with Fats Kaplin), which blew me away.

This recording builds on the previous two, and provides some sublime musical moments. The musicianship is superb, the singing really great and the songs outstanding. There is a sophistication to this music that goes much beyond a lot of so-called Americana. I think that the reclassification of these guys into the "modern folk" genre is right, and they have to be seen as in the very first tier of performers.

And I really like Lucas Kane's percussion work on this recording. Live, it has a bit more punch, and that's ok, but it's perfect on the CD. And as to the cover, as someone else told me, the old girl does kind of grow on you.

Any mix of these musicians, on this and previous CDs, provides a true and extremely satisying listen. No one else can buy music for me -- I ain't never satisfied. But a friend bought me my first Kane and Kaplin CD and I had to have them all. Some days it is all I want to listen to. Try some -- these guys are excellent musicians and smart songwriters. It will make you happy and full-hearted.

I've been a Kevin Welch fan for many, many years and will buy any music he puts out. I love his voice and the lyrical content of his songs, and the moods that it all envokes. I only own one Kieran Kane album, but I should get more because I really enjoy the one I have. So when these guys got together, it was a no-brainer; I had to have this album. Before this one, however, I bought their 2004 release, "You Can't Save Everybody." I actually like that one a tad more than this CD, but that doesn't indicate a lack of quality on this album at all. Once again Welch and Kane combine to create atmospheric roots music. Americana, country, folk, and whatever else you want to throw in there; these guys sing and play up a storm! But the hidden weapon, as on the previous album, is Fats Kaplin. I knew nothing about him before he teamed up with Welch and Kane, but I like how the main review describes him as "the renowned multi-instrumentalist and this generation's Ry Cooder." That nails it. His banjo playing and the Kane's guitar mesh perfectly. And to hear Kevin Welch singing these songs ... well, it all makes for a blissful listening experience. I wish all "country" music sounded this good and this inspired.